Main textbook: Shuker, Roy. 2016. Understanding Popular Music Culture. London/New York: Routledge.
Suggested reading for each lecture: see time schedule.
Course readings (selected articles):
Adorno, Theodor W. 1996 [1945]: “Social Critique of Radio Music.” In The Kenyon Review, New Series, vol. 18, nr. 3/4, 229-235.
Bennett, A. 2006. “Subcultures or Neotribes?” In Bennett, Shank & Toynbee (eds.). The Popular Music Studies Reader. London & New York: Routledge, 106-113.
Blacking, John. 1981. “Making artistic popular music: the goal of true folk”, Popular Music, Vol.1, 9-14
Blake, A. 2009. “Recording practices and the role of the producer.” In N. Cook, E. Clark, D. Leech- Wilkinson & J. Rink (red.) The Cambridge Companion to Recorded Music. Cambridge: Cambridge University Press, 36-53.
Born, Georgina et al. 2017. “What is Social Aesthetics”, In Born et al. (eds.) Improvisation and Social Aesthetics. Durham: Duke University Press, 1-30.
Born, Georgina. 2010. “The Social and the Aesthetic: For a Post-Bourdieuian Theory of Cultural Production.” Cultural Sociology, Vol. 4(2): 171–208.
Br?vig-Hanssen, Ragnhild and Anne Danielsen. 2016. “Autotuned Voices: Alienation and ‘Brokenhearted Androids.’” In Digital Signatures. The Impact of Digitization on Popular Music Sound, 117-132. Cambridge, MA: MIT Press.
DeNora, Tia. 1999. “Music as a technology of the self,” Poetics 27, 31-56.
Dibben, Nicola. 2006. “Subjectivity and the Construction of Emotion in the Music of Bj?rk.” Music Analysis 25, 171-197.
Feld, Steven. 2005. “Communication, Music and Speech about Music.” In Feld, Steven & Keil, Charles: Music Grooves. Chicago: University of Chicago Press, 77-95.
Frith, Simon. 2010. ”Introduction.” In The Art of Record Production: An Introductory Reader for a New Academic Field. London: Ashgate.?
Frith, Simon. 2004. “What is Bad Music?” In Bad Music: The Music We Love to Hate, Christopher j. Washburne and Maiken Derno (eds,). New York/London: Routledge, 15-36.
Frith, Simon. 1996, “Common Sense and the Language of Criticism”, In Performing Rites: On the Value of Popular Music. Cambridge: Harvard University Press, 47-74.
Frith, Simon. 1989. “Why do songs have words?, Contemporary Music Review, 5:1, 77-96, DOI: 10.1080/07494468900640551
Frith, Simon. 1981.“ 'The Magic That Can Set You Free': The Ideology of Folk and the Myth of the Rock Community”, Popular Music, Vol. 1, Folk or Popular? Distinctions, Influences, Continuities, 159-168
Gabbard, Krin. 1995. “Introduction. The Jazz Canon and Its Consequences”, In Gabbard (ed.) Jazz Among The Discourses. Durham: Duke University Press, 1-30.
Hawkins, Stan. 2017.“ Introduction.” In The Routledge Research Companion to Popular Music and Gender, 1-12.
Ingram, David. 2010. “Chapter Three: Popular Music and ‘Nature’” and “Chapter Nine: Post-1960s Rock, R’n’B and hip hop,” In The Jukebox in the Garden. Ecocriticism and American Popular Music Since 1960. New York: Rodopi, 47-58 and 159-83.
Katz, Mark. 2004. ”Music in 1s and 0s. The Art and Politics of Digital Sampling.” In Capturing Sound. How technology changed music, University of California Press, Berkeley/Los Angeles/London 2004, 137-157.
Lorentzen, Anne. 2002. ”Om kj?nn i pop og rock.” In Gripsrud, J: Popul?rmusikken i kulturpolitikken.Oslo: Norsk Kulturra?d, 226-257.
McClary, Susan. 1991. “Introduction.” In Feminine Endings. University of Minnesota Press, 3-34.
Middleton, Richard. 2012. “Locating the People. Music and the Popular”. In Clayton et al. (eds.) The Cultural Study of Music. A Critical Introduction, 2. ed. New York: Routledge, 275-287.?
Moore, Allan F., 2003. “Introduction.” In Analyzing Popular Music, ed. Allan F. Moore. Cambridge: Cambridge University Press, 1-15.
Negus, K. 1996. “Histories”, and “Audiences”, In Popular Music in Theory. Cambridge: Polity Press, 136-163 & 7-35.
Shepherd, John og Kyle Devine. 2015. “Music and the Sociological Imagination—Pasts and Prospects.” In The Routledge Reader on the Sociology of Music, Shepherd and Devine (Eds.). New York: Routledge.
Shepherd, John. 1985. “Definition as Mystification. A Consideration of Labels as a Hindrance to Understanding Significance in Music.” In Popular Music Perspectives 2. Go?teborg: IASPM, 84-98.
Stimeling, Travis D. 2016. “Music, Television Advertising, and the Green Positioning of the Global Energy Industry.” In Current Directions in Ecomusicology: Music, Nature, and Culture, edited by Aaron Allen and Kevin Dawe. New York: Routledge, 188-99.
Straw, Will. 2012. “Music and Material Culture,” In Clayton, Herbert, Middleton (eds.) The Cultural Study of Music: A Critical Introduction, 2nd ed. New York: Routledge, 249-260.
Vágnerová, Lucie. 2017. “‘Nimble Fingers’ in Electronic Music: Rethinking sound through neo-colonial labour.” Organised Sound 22(2): 250–258. Cambridge University Press.
Walser, Robert. 2003. “Popular music analysis: ten apothegmsand four instances”. In Analyzing Popular Music, ed. Allan F. Moore. Cambridge: Cambridge University Press, 16-38.
Walser, Robert. 1993. “Forging Masculinity: Heavy Metal Sounds and Images of Gender.” In Running with the Devil. Power, Gender, and Madness in Heavy Metal Music. Middletown: Wesleyan University Press, 108-136.
Weisethaunet, Hans. 2007. “Historiography and Complexities: Why is music ‘National’.” Popular Music History 2(2), 169-199
Weisethaunet, Hans og Lindberg, Ulf. 2010. “Authenticity Revisited: The Rock Critic and the Changing Real”, Popular Music and Society, 33:4, 465- 485.
The course will further make reference to the following classic books/introductions to the field (reading by choice):
Cohn, Nik. 1969. Pop from the Beginning. London: Weidenfeld & Nicolson.
Clayton, Herbert, Middleton (eds.) 2012. The Cultural Study of Music?: A Critical Introduction. 2nd ed. New York: Routledge.
Frith, Simon. 1996. Performing Rites: On the Value of Popular Music. Cambridge: Harvard University Press.
Frith, Simon and Horne, Howard. 1987. Art into Pop. London: Methuen.
Hawkins, Stan. 2002. Settling the Pop Score: Pop Texts and Identity Politics.
Hebdige, Dick. 1979. Subculture: The Meaning of Style. London: Routledge.
Middleton, Richard. 1990. Studying Popular Music. Buckingham: Open University Press.
Miller, Karl Hagstrom. 2010. Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow. Durham: Duke University Press.
Moore, Alan. 2001. Rock: The Primary Text: Developing a Musicology of Rock. New York: Ashgate.
Negus, Keith. 1999. Music Genres and Corporate Cultures. Oxon: Routledge.
Negus, Keith. 1996. Popular Music in Theory. London: Polity Press.
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Further suggestions related to various topics:
(Nedenfor er videre forslag til relevante artikler for ulike tema.)
General Reference:
David Beard and Kenneth Gloag. 2005. Musicology. The Key Concepts. New York: Routledge.
Sound Studies:
Novak, David and Matt Sakakeeny. 2015. Keywords in Sound. Durham: Duke University Press.
Steingo, Gavin. 2015. “Sound and Circulation: Immobility and Obduracy in South African Electronic Music”, Ethnomusicology Forum,
Vol. 24, No. 1, 102–123, http://dx.doi.org/10.1080/17411912.2015.1020823
Sterne, Jonathan. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham: Duke University Press.
Théberge, P. 1997. Any Sound You Can Imagine. Middletown: Wesleyan University Press.
Théberge, P., K. Devine, and T. Everrett, ed. 2015. Living Stereo. New York: Bloomsbury.
Analysis and Interpretation:
Hawkins, Stan and John Richardson. 2007. “Remodeling Britney Spears: Matters of Intoxication and Mediation,” Popular Music and Society, 30. [The journal is electronically available through BIBSYS]
Richardson, John and Claudia Gorbman, 2013. “Introduction,” in Richardson, John, Claudia Gorbman, and Carol Vernallis (eds.) The Oxford Handbook of New Audiovisual Aesthetics. New York and Oxford: Oxford University Press.
Sandve, Birgitte. 2015. “Unwrapping Norwegianness: politics of difference in Karpe Diem” Popular Music, 34.
Fast, Susan and Karen Pegley, 2006. “Music and Canadian Nationhood Post 9/11: An Analysis of Music Without Boarders: Live,” Journal of Popular Music Studies, 18, pp. 18–39.
Musical Identities:
Bourdieu, P. 1986. ‘Introduction’, in Distinction: a Social Critique of the Judgement of Taste. Translated by Nice, R. London: Routledge, 1-8.
Brooks, W. 1982. ‘On Being Tasteless’, Popular Music, 2, pp. 9-18.
Dyndahl, Petter. 2008. ”Norsk hiphop i verden. Om konstruksjon av glokal identitet i hiphop og rap.” I Krogh og Pedersen (red.). Hiphop i Skandinavien, A?rhus: A?rhus Universitetsforlag, 96-116.
Gilroy, Paul. 1993. “The Black Atlantic as a Counterculture of Modernity.” In The Black Atlantic. Modernity and Double Consciousness. London: Verso, 1-40.
Hargreaves, D.J., Miell, D. and Macdonald, R.A.R. 2002. “What Are Musical Identities, and Why Are They Important?”, in MacDonald, R., Hargreaves, D. and Miell, D. (eds) Musical Identities. New York: Oxford University Press, pp. 1-20.
Peterson, R. and Bennett, A. 2004. “Introducing Music Scenes,” in Bennett, A. and Peterson, R. (eds.) Music Scenes: Local Translocal, and Virtual. Nashville: Vanderbilt University Press, pp. 1-16.
Ruud, Even. 2013. Musikk og identitet. Oslo: Universitetsforlaget.
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Connell, J. and Gibson, C. 2003. “Musical Communities: national identity, ethnicity and place”, in Sound Tracks: Popular music, identity and place. New York: Routledge, pp. 117-143.
Hogwood, C. 2010. ‘Musical identity’, in Walker, G. and Leedham-Green, E. (eds) Identity. New York: Cambridge University Press, pp. 157-183.
Thornton, S. 1995. “The Distinctions of Culture without Distinction”, in Club Cultures: Music, Media and Subcultural Capital. Cambridge: Polity, pp. 1–25.
Authenticiy, Gender, and Identity:
Auslander, Philip, 2006. “Musical Personae,” The Drama Review 50/1, pp. 100–19.
Bradby, Barbara, 1993. “Sampling sexuality: gender, technology and the body in dance music,” Popular Music 12/2, pp. 155–76.
Fast, Susan, 1999. “Rethinking Issues of Gender and Sexuality in Led Zeppelin: A Woman's View of Pleasure and Power in Hard Rock,” American Music 17/3, pp. 245–99.
Mayhew, Emma, 2004. “Positioning the producer: gender divisions in creative labour and value,” in Music, Space and Place, red. S. Whiteley, A. Bennett og S. Hawkins, pp. 149–62.
Moore, Allan F., 2002. “Authenticity as Authentication,” Popular Music 21/2, pp. 209–23.
Warwick, Jacqueline, 2004. “He’s got the power: the politics of production in girl group music,” i Music, Space and Place, red. S. Whiteley, A. Bennett og S. Hawkins, s. 191–200.
DJing and Club Cultures:
Bennett, A. (2001) “Contemporary Dance Music and Club Cultures”, in Cultures of Popular Music. Berkshire and New York: Open University Press, pp. 118-135.
Gadir, T. (2013) “An Aural Account of Research in Edinburgh”, in Dancecult, Journal of Electronic Dance Music Culture, Vol 5(1): https://dj.dancecult.net/index.php/dancecult/article/view/358/363
Pini, M. (2001) ‘Invisible Women in Increasingly Visible Club Cultures’, in Club Cultures and Female Subjectivity: The Move from Home to House. New York: Palgrave, pp. 23-58.
Reynolds, S. (2008) Energy Flash: into the world of techno and rave culture. London: Picador.
Liveness:
Auslander, Philip, 2008. Liveness: Performance in a Mediatized Culture. London/New York: Routledge.
Bayley, Amanda, 2010: Recorded Music: Performance, Culture and Technology. Cambridge/New York: Cambridge University Press.
Frith, Simon, 1986. “Art Versus Technology: The strange case of popular Music,” Media, Culture & society, 8, 263–79.
Kjus, Yngvar and Anne Danielsen, 2015. “Live Islands in the Seas of Recordings: The Music Experience of Visitors at the ?ya Festival,” Popular Music and Society, 38(5).
Porcello, Thomas, 2005. “Music Mediated as Live in Austin: Sound, Technology, and Recording Practice.” In Wired for Sound: Engineering and Technologies in Sonic Cultures, eds. Paul D. Green and Thomas Porcello, pp. 103–17. Middletown, Conn.: Wesleyan University Press.
Analysis with a Focus on Sound, Groove and Technology:
Hawkins, S. 2001. ?Musicological Quagmires in Popular Music: Seeds of Detailed Conflict”, Popular Musicology Online, (1). [Available at: http://www.popular-musicology-online.com/issues/01/hawkins.html]
Tagg, P. 1982. “Analysing Popular Music: Theory, Method and Practice”, Popular Music, 2, pp. 37-67.
Sound and Technology:
Br?vig-Hanssen, Ragnhild and Anne Danielsen. 2012. “The Naturalised and the Surreal: Changes in the Perception of Popular Music Sound,” Organised Sound, 18/1 (s. 72–81).
Ruth Dockwray and Allan F. Moore, 2010. “Configuring the sound-box 1965–1972,” Popular Music, 29(02): 181-197.
Rhythm and Groove:
Danielsen, Anne, 2006. Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Middletown, Conn.: Wesleyan University Press, chapt. 3, 4, and 5 (pp. 43–91).
Butler, M.J. 2001. “Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic Dance Music”, Music Theory Online, 7(6).
Clarke, E.F. 2005. “Music, Motion, and Subjectivity”, in Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. New York: Oxford University Press, 64-90.
Garcia, L-M. 2005. “On and On: Repetition as Process and Pleasure in Electronic Dance Music”, Music Theory Online, 11(4). [Available to read at: http://www.mtosmt.org/issues/mto.05.11.4/mto.05.11.4.garcia.html]
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Butler, M. J. 2006. Unlocking the Groove: rhythm, metre, and musical design in electronic dance music. Bloomington and Indianapolis: Indiana University Press.
Doyle, Peter, 2005. Echo and Reverb: Fabricating Space in Popular Music Recording, 1900–1960. Middletown, Conn.: Wesleyan University Press.
Walser, Robert. 1995. “Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy.” Ethnomusicology 39/2, 193–217.